The genre of ode and its literary fate. What is an ode? Oda is a song of praise

Curtain

From stories and genre theory

Oda is one of the main genres of classicism. It arose in ancient literature and at that time was a song with a wide lyrical content: it could sing the exploits of heroes, but it could also talk about love or be a cheerful drinking song.

The attitude to the ode as a song in a broad sense was preserved in French classicism. In the Russian theory of classicism, a more definite, narrow meaning is already invested in the concept of "ode". Sumarokov, Trediakovsky, and after them Derzhavin, speaking of an ode, mean a lyrical poem praising heroes. In Greek poetry, the ode was represented by Pindar, in French classicism by Malherbe, in Russian literature by Lomonosov.

They affirm the ode as a genre of heroic, civil lyrics, with obligatory "high" content and solemn, "sublime" style of its expression. From the ode as a genre of high lyrics, they distinguish the actual song. The song in their understanding is a lyrical poem dedicated only to love. It does not require an oratorical style, it is characterized by simplicity and clarity.

The ode as a genre of high solemn poetry receives predominant development in the literature of classicism during its heyday. This is due to the fact that the era with which the development of classicism was associated proclaimed the triumph of common interests over personal interests. The solemn ode since antiquity has sung the most important events of the external or internal life of the state. That is why the genre of high ode was more in line with the tasks of the era of national unity than, for example, the genre of love or drinking songs. The experiences of a person caused by the events of his personal life - love, separation from loved ones, their death - were relegated to the background. Only those experiences of the poet that reflected events of a national, nationwide scale could arouse general interest.

The Decembrist poet V. K-Küchelbecker very accurately defined the features of the high ode and considered the appeal to the genre as a measure of the poet's citizenship. He wrote in one of his articles: “In the ode, the poet is disinterested: he does not rejoice at the insignificant events of his own life, he does not complain about them; he broadcasts the truth and the judgment of Providence, triumphs about the greatness of his native land, throws thunderbolts on adversaries, blesses the righteous, curses the monster. The poet in the ode is the bearer of the national consciousness, the spokesman for the thoughts and feelings of the era.

This is what made it the leading genre of civil poetry of classicism, although it retained the features of a laudatory work. In this regard, the ode of classicism echoed the ode of ancient poets.

Ode in classicism was a genre of strict form. Its indispensable feature was lyrical disorder, suggesting the free development of poetic thought. Other constant elements became obligatory for its structure: "praise to a certain person, moralizing reasoning, predictions, historical or mythological images, the poet's appeal to nature, the muses, etc. They were included in the composition of the ode, regardless of its main theme and were a feature not only of Russian or a French ode / They were also inherent in the eastern, for example, Arabic, "

In this respect, the ode resembled an oratory: it had to have the same degree of evidence and emotional impact. An ode was built, like an oratorical word, from three obligatory parts: an attack, that is, the introduction of a topic, reasoning, where this topic was developed with the help of image examples, and a brief but emotionally strong conclusion. Each of the three parts had its own construction features. But in any case, the arguments in favor of the main idea should be located, according to Lomonosov, "in such a way that the strong are in front, those who are weaker, those in the middle, and the strongest at the end."

The poetic scheme of the ode worked out by the theorists of classicism was preserved throughout its development, starting with the work of Lomonosov and ending with the work of his followers in the late 18th and early 19th centuries. And yet, the high perfection of the Russian ode was not determined by the fact that its authors exactly followed the external scheme, included or did not include certain elements in its composition.

A sign of real poetry is the truthful transmission of Geront's emotional excitement by the author. And this requires from the poet a good knowledge of human psychology and human morals, an understanding of how Lomonosov said, "from what ideas and ideas each passion is excited." In addition, the listener, according to the same Lomonosov, will be imbued with the same mood as the poet, only if the latter "himself has the same passion that he wants to arouse in the listeners"1. Therefore, an indispensable condition for the development of a lyrical theme in an ode, as, indeed, in any other lyrical poem, is the sincerity of the poet, the genuineness of his feelings.

As for the construction of the ode, the poet's enthusiasm did not exclude careful consideration of its main motives and their corresponding compositional parts. He did not rule out thinking about ways to influence the listener in order to evoke response feelings in him. However, all this had to remain outside the text of the ode.

The ode itself, addressed to the listeners, retained the character of free improvisation among true masters, when one thought evoked another. The impression of "lyrical disorder" created by such a development of the theme was external. The poet, moving from one thought to another, subordinated the construction of the ode to the disclosure of the main idea, the main feeling. This determined the compositional unity of all its parts, like a drama or a poem. That is why the odes of different authors, having much in common in construction, did not repeat each other. Their originality, their dissimilarity were determined by the personality of the poet, his outlook on life, his poetic skill.

The origin of the high ode genre in Russia is attributed by researchers to the end of the 16th century. In the 17th century, Simeon Polotsky's collection "Rhymologion"2 became a significant fact of panegyric literature. The ode genre was further developed at the beginning of the 18th century by F. Prokopovich. A major church figure, an associate of Peter the Great, an ardent patriot, Feofan Prokopovich sang in his odes the most important events of the era: the Poltava victory, the opening of the Ladoga Canal, etc. The setting in literature of the theme of Peter the Great as an enlightened monarch, builder and hero is associated with him. It will then be picked up by Kantemir, Lomonosov and other poets - up to Pushkin with his poems "Poltava" and "The Bronze Horseman".

The Russian ode to classicism was created on the fusion of experience / ancient Russian, ancient and European poetry. It was created in relation to the conditions and tasks of Russian national life in the 18th century. The most rigorous examples of the genre belong to Lomonosov. Sumarokov, in his solemn odes, outwardly followed Lomonosov. However, his odes were distinguished by greater simplicity and clarity of style, and revealed other trends in the development of this genre.

Considering the history of the Russian ode, Yu. Tynyanov rightly saw two directions in its development. One he connected with the names of Lomonosov, Petrov, Derzhavin and saw his peculiarity in the presence of an ornate beginning, the other - with the names of Sumarokov, Maykov, Kheraskov, Kapnist, in which there was a deviation from oratorical intonations. Recognizing the existence of different stylistic tendencies in understanding and using the ode genre in Russian classicism, Yu. Tynyanov, at the same time, believed that “the introduction of sharply different means of style into the ode did not destroy the ode as a high form, but supported its value”1. Indeed, the appeal to the genre of the Decembrist poets returned the oratorical intonations to the ode. In the future, she invariably retained the features of the genre of high poetry.

(more precisely, “pseudo-classical”) only in the sense that it borrowed form from ancient satirists, borrowed character, sometimes its themes, but the most significant content- was free from any restrictions and rules, was always alive and mobile, since, in its essence, it was doomed to always come into contact with reality. bualo, translated into Latin, would only very slightly affect the life of Rome. It was not so with the "ode" - because of its isolation from life, it was easier to succumb to other people's influences. These influences conquered not only its forms, but also made its content a “common place”. That is why most of the odes are completely international and stereotyped, equally applicable to France, and to Germany, and to Russia.

Classicism as a trend in art and literature

The "classical" ode received all its specific features at the court of Louis XIV. This court enslaved not only the aristocracy, finally turning it into courtiers, but also attracted poets, artists, and scientists to Paris. Previously, singers lived in the castles of nobles and praised their feats of valor and hospitality - now, after the centralization of mental life - they crowded in the capital. The "Sun King", who copied the emperor Augustus, became sovereign for them Patron handed out awards and pensions. And so, from the hangers-on of the knight's castle, they became the king's pensioners: "enlightened absolutism" sheltered them, they grew stronger under his protection - and became the masters and legislators of the then all-European Parnassus; they glorified the king and their patrons, spread their glory throughout Europe.

These men of letters formed the first corporation of the French Academy. She was placed along with the highest state institutions of France and received the high right to bring congratulations to the king on solemn occasions on a par with parliament. Since then, getting into this Academy has become the cherished dream of every French writer.

The "duty" of academic poets to praise the sovereign Maecenas created the typical features of the French ode. The odes of Pindar and Horace became models for her. Of course, the most sincere creator of the odes was Pindar, known for his laudatory songs in honor of contemporary events and heroes. These songs were sung to the accompaniment of the lyre. The lively, sincere attitude of the singer to the event, the sympathy of the listeners - these are the indispensable companions of this primitive ancient ode. More artificial was Horace's ode - it was already flattering poetry in honor of the benefactor, without the participation of the people, without singing and lyre, without faith in the gods, although with a traditional appeal to the gods and lyre, and the mention of the word: "I sing."

Pseudo-classics of the New Age borrowed the form and techniques from Pindar and Horace - this is how the theory false classical odes. Boileau, as always, successfully, in a few words, defined the theory of this ode - and his theory became the law for all subsequent ode writers.

The main feature of this ode is “pathos”, which raises the poet to heaven, to the height of the pagan Olympus, where, in a fit of delight, the poet sees the gods themselves; in such chants in honor of the victor, in the praise of victories, the impetuosity of style, drawing the poet from calm, flowing speech to appeals, digressions, elevations arising from his excitement, created that "beau désordre", "beautiful disorder", which is inherent in sincerely inspired feeling , but in theory Boileau turned into "effet de l" art "(beautiful literary device). Many pseudo-classics, writers of odes, this reception covered up a lack, or insincerity of feeling.

Pseudo-classical odes were successful in Germany, where they were usually composed in honor of various German princes who sat in their castles and towns and posed as “little Louis XIV” there. No wonder that the grandiosely flattering French ode here took on the character of a gross lie. What in the setting of Versailles was elevated, swollen, but still had a basis in the enchanting theatrical grandeur of the era and culture, then in the wilderness of virtuous Germany, in the atmosphere of beer and Junkerism, was a direct lie: the same appeals to the gods of antiquity, the same likenings heroes of antiquity, the same pathos - only instead of the grandiose personality of Louis - a pompous, ponderous figure of a German, "enlightened by the French world"!

However, the Germans also had poets, whose sincere feeling sometimes made its way through the conventions of ready-made, hackneyed forms. Such was, for example, Günther, who died young. For us Russians, he is valuable as a writer, highly respected

Oda M.V. Lomonosov. The place of the ode in the system of genres of classicism. Analysis of the ode "On the Capture of Khotin".

Lomonosov entered the history of Russian literature primarily as an ode writer.

Contemporaries called him the Russian Pindar. Oda is a lyric genre. She is

passed into European literature from ancient poetry. In Russian literature

18th century the following varieties of ode are known: victorious-patriotic,

laudable, philosophical, spiritual and anacreontic. In the system of genres

Russian classicism, the ode belonged to the "high" genres, in which

"exemplary" heroes were depicted - monarchs, generals who could serve

an example to follow. In most cases, the ode consists of stanzas with

repetitive rhyme. In Russian poetry, most often took place

ten line stanza proposed by Lomonosov.

Lomonosov began with the victoriously patriotic Ode on the Capture of Khotin. It's written

in 1739 in Germany, immediately after the capture by Russian troops

Turkish fortress Khotyn, located in Moldova. Fortress garrison with

its chief Kalchakpasha was taken prisoner. This brilliant victory

a strong impression in Europe and even higher raised the international prestige of Russia.

In the ode of Lomonosov, three main parts can be distinguished: introduction, image

military operations and the glorification of the victors. The pictures of the battle are given in a typical

Lomonosov in a hyperbolic style with a mass of detailed comparisons, metaphors

and personifications that embody the tension and heroism of battle scenes.

The moon and the snake symbolize the Mohammedan world; an eagle soaring over Khotyn, -

Russian army. The arbiter of all events was brought out by a Russian soldier, "Ross", as

admiration:

Strengthens the fatherland love

Sons of Russian spirit and hand:

Everyone wants to shed all the blood,

From the formidable sound invigorates.

The tension, the pathetic tone of the narration is intensified by rhetorical

to the enemy. There is also an appeal to the historical past of Russia in the ode. Above

the shadows of Peter I and Ivan the Terrible appear in the Russian army, having won in their

time of victory over the Mohammedans: Peter - over the Turks near Azov, Grozny - over

Tatars near Kazan. Such historical parallels will become after

Lomonosov is one of the stable features of the odic genre.

Scientific and philosophical lyrics of M.V. Lomonosov ("Morning reflection...",

“Evening reflection...”, Letter on the benefits of glass.

Lomonosov made his extensive knowledge in the field of science the subject of poetry. His

"scientific" poems are not a simple transcription of achievements in poetic form

science. It is indeed poetry born of inspiration, but only in

unlike other types of lyrics, here poetic delight was aroused by an inquisitive

scientist's thought. Lomonosov dedicated poems with scientific themes to phenomena

nature, especially the space theme. As a deist philosopher, Lomonosov

saw in nature a manifestation of the creative power of a deity, but in his poems he

reveals not the theological, but the scientific side of this issue: not comprehending

God through nature, but the study of nature itself, created by God. So there were

two closely related works: "Morning reflection on God's

majesty” and “Evening meditation on the majesty of God on the occasion of the great

northern lights." Both poems were written in 1743.

In each of the "Reflections" the same composition is repeated. First

phenomena familiar to a person from his daily impressions are depicted. Then

the poet-scientist lifts the veil over the invisible, hidden region of the universe,

introducing the reader to new worlds unknown to him. Yes, in the first line

"Morning Reflection" depicts the sunrise, the onset of morning,

awakening of all nature. Then Lomonosov starts talking about the physical

structure of the sun. A picture is drawn that is accessible only to the inspired gaze

a scientist who can speculatively imagine what he cannot see

the "mortal" human "eye" - the hot, raging surface of the sun.

Lomonosov appears in this poem as a great popularizer

scientific knowledge. Complex phenomena occurring on the surface of the Sun, it

reveals with the help of ordinary, purely visible "earthly" images: "fiery shafts",

"fiery whirlwinds", "burning rains".

In the second, "evening" reflection, the poet refers to the phenomena that appear

man in the firmament at nightfall. At first, as in

the first poem, a picture is given that is directly accessible to the eye. it

the majestic spectacle awakens the inquisitive thought of the scientist. Lomonosov writes about

infinity of the universe, in which a person looks like a small grain of sand in

bottomless ocean. For readers accustomed, according to the Holy Scriptures,

the world around him. Lomonosov raises the question of the possibility of life on others

planets, offers a number of hypotheses about the physical nature of the northern lights.

Lomonosov's scientific interests have always been closely connected with his practical work.

activity. One of the evidences of such unity is the famous

organization of a glass factory in Ust-Ruditsa, near Oranienbaum. Production

glass in Russia was just beginning, its necessity had to be proved.

Therefore, the "Letter" lists in detail the various cases of application

glass, from jewelry to optical instruments. From specific

examples of the use of glass Lomonosov moves on to issues related to

fate of advanced science. The names of the great naturalists Kepler are called,

Newton, Copernicus, The mention of Copernicus gives Lomonosov the opportunity

reveal the essence of the heliocentric system.

"Letter on the benefits of glass" goes back to ancient scientific poetry. One

from the distant predecessors of Lomonosov in this area was a Roman poet

some researchers and "Letter on the benefits of glass" is also called a poem, not

given the genre originality of Lomonosov's work, we have before us precisely

a letter that has a specific addressee - Ivan Ivanovich Shuvalov, a prominent

nobleman and favorite of Empress Elizabeth Petrovna. Shuvalov

patronized the arts and sciences. With his assistance were opened

university in Moscow and the Academy of Arts in St. Petersburg. To his help

Lomonosov repeatedly applied for the implementation of his plans. "Letter about

the benefits of glass" - a kind of parallel to the odes of Lomonosov, in which the poet

sought to convince the authorities of the importance of education and science. But in

unlike the solemn odes, the "Letter" was not intended for palace

ceremonies and was an informal appeal of the poet to Shuvalov than

and explains his strict, businesslike, devoid of any rhetorical embellishments

Philological works of M.V. Lomonosov. Their significance in the development of Russian philology.

Lomonosov entered literature at a time when ancient Russian

writing related to the Church Slavonic language, with an established system

genres became a thing of the past, and it was replaced by a new secular culture. Due

with the secularization of consciousness, the Russian language became the basis of the literary language.

Lomonosov wrote the first "Russian Grammar" (1757), which opened

enthusiastic praise of the Russian language, comparing it with European languages

and highlighting its benefits.

Lomonosov was far from thinking of abandoning the use in Russian

literary language of Church Slavonicism. Trediakovsky in the preface to the novel

"Riding to Love Island" wrote about incomprehensibility and even dissonance

Church Slavonic and resolutely avoided it in his translation. Such

the decision of the issue was not accepted by Lomonosov.

Church Slavonic, by virtue of its kinship with Russian, contained

certain artistic and stylistic possibilities. He gave speech

connotation of solemnity, significance. It's easy to feel if

put Russian and Church Slavonic words of the same meaning next to each other:

finger - finger, cheek - cheek, neck - neck, said - rivers, etc. Because of this

Church Slavonicisms, with their skillful use, enriched the emotional and

expressive means of the Russian literary language. In addition, on

Church Slavonic were translated from Greek liturgical books, in

first of all, the Gospel, which enriched the vocabulary of the Russian language with many

abstract concepts. Lomonosov believed that the use of Church Slavonicisms

in the Russian literary language is necessary. He presented his ideas in

called "Foreword on the Usefulness of Church Books in the Russian Language"

(1757). Lomonosov divided all the words of the literary language into three groups. To

first he refers to the words common to the Russian and Church Slavonic languages: god,

glory, hand, now, I read, etc. To the second - only Church Slavonic

words understandable to "all literate people": I open, Lord, planted,

I call. "Uncommon" and "very dilapidated" Church Slavonicisms of the type:

obavayu, rassny, ovogda, svene - they were excluded from the literary language. To

the third group includes words only in the Russian language: I say, stream,

which, for now, only, etc. The three groups of words mentioned above are

"material" from which three "calm" are "constructed": high,

"mediocre" (i.e., average) and low. The high "calm" is made up of

words of the first and second groups. Middle - from the words of the first and third groups. Short

"calm" is composed mainly of the words of the third group. Here you can

enter the words of the first group. In a low calm, Church Slavonicisms do not

are used. Thus, Lomonosov made the basis of the literary language

Russian language, since of the three named groups, two, the most extensive, the first and

third, were presented in Russian words. As for Church Slavonicisms

(second group), then they are only added to the high and medium "calms" in order to

give them some degree of solemnity. Each of the "calm" Lomonosov

associated with a particular genre. Heroic poems are written in high "calm",

odes, prosaic speeches about "important matters". Middle - tragedy, satire,

eclogues, elegies, friendly messages. Low - comedies, epigrams, songs.

In 1739, Lomonosov sent from Germany to the Academy of Sciences “A letter on the rules

Russian Poetry", in which he completed the reform of the Russian

versification, begun by Trediakovsky. Together with the "Letter" was sent "Ode

on the capture of Khotin "as a clear confirmation of the advantages of the new poetic

systems. Lomonosov carefully studied "A new and short way ..."

Trediakovsky and immediately noticed his strengths and weaknesses. After

Trediakovsky Lomonosov gives full preference to the syllabo-tonic

versification, in which he admires the "correct order", that is, rhythm. AT

Lomonosov cites a number of new considerations in favor of the syllabic tonic. Her

correspond, in his opinion, to the features of the Russian language: free stress,

falling on any syllable, how our language is fundamentally different from Polish

and French, as well as an abundance of both short and polysyllabic words, what else

more conducive to the creation of rhythmically organized poems.

But accepting in principle the reform begun by Trediakovsky, Lomonosov remarked that

Trediakovsky stopped halfway and decided to see it through to the end. He

proposes to write in a new way all the verses, and not just eleven and

thirteen-syllable, as Trediakovsky believed. Along with disyllabic, Lomonosov

introduces three-syllable feet rejected by Trediakovsky into Russian versification.

Trediakovsky considered only female rhyme possible in Russian poetry.

Lomonosov offers three types of rhymes: masculine, feminine and dactylic. He

motivates this by the fact that the stress in Russian can fall not only on

penultimate, but also on the last, as well as on the third syllable from the end. Unlike

from Trediakovsky, Lomonosov considers it possible to combine in one

a poem with masculine, feminine and dactylic rhymes.

In 1748, Lomonosov published a "Short Guide to Eloquence" (Book.

1 "Rhetoric"). In the first part, which was called "Invention", was put

question about the choice of topic and related ideas. The second part - "On decoration" -

giving speech "elevation" and "splendor". In the third - "On the location" -

about the composition of a work of art. In "Rhetoric" were not

only rules, but also numerous examples of oratory and poetic

art. It was both a textbook and an anthology at the same time.

A.P. Sumarokov. Personality. Socio-political views. Literary and aesthetic position. Epistle "On poetry".

The creative range of Alexander Petrovich Sumarokov (1717-1777) is very wide.

He wrote odes, satires, fables, eclogues, songs, but most importantly, how he enriched

genre composition of Russian classicism - tragedy and comedy.

Sumarokov's worldview was formed under the influence of the ideas of Petrovsky

time. But unlike Lomonosov, he focused on the role and

duties of the nobility. Hereditary nobleman, pupil of the gentry

corps, Sumarokov did not doubt the legitimacy of noble privileges, but

believed that high office and ownership of serfs needed to be confirmed

education and social service. A nobleman must not humiliate

the human dignity of the peasant, burden him with unbearable requisitions. He

sharply criticized the ignorance and greed of many representatives of the nobility in

his satires, fables and comedies.

Sumarokov considered the best form of government to be a monarchy. But

the high position of the monarch obliges him to be just, generous,

to be able to suppress evil passions in oneself. In his tragedies, the poet portrayed

the detrimental consequences resulting from monarchs forgetting their civil

In his philosophical views, Sumarokov was a rationalist. Although he was

the sensationalistic theory of Locke is familiar (see his article “On Understanding

human according to Locke"), but it did not lead him to abandon

rationalism. Sumarokov looked at his work as a kind of school

civic virtues. Therefore, they were put forward in the first place

moralistic functions. At the same time, Sumarokov was acutely aware and purely

artistic tasks that faced Russian literature, their

he outlined his thoughts on these issues in two epistles: “On the Russian language” and

"About poetry". Later he combined them in one work under

titled "Instruction to those who want to be writers" (1774). sample for

"Instructions" served as Boileau's treatise "The Art of Poetry", but in the essay

Sumarokov, an independent position is felt, dictated by urgent

needs of Russian literature. Boileau's treatise does not raise the question of

the creation of a national language, since in France in the 17th century. this problem is already

has been resolved.

The main place in the “Instruction” is given to the characteristics of new for Russian

literature genres: idylls, odes, poems, tragedies, comedies, satires, fables.

in poetry, know the difference between genders // And what you start, look for decent ones

words” (Ch. 1. S. 360). But Boileau and Sumarokov's attitude to individual genres is not

always matches. Boileau speaks very highly of the poem. He puts it even

above tragedy. Sumarokov says less about her, being content only

characteristic of her style. He never wrote a single poem in his entire life. His

talent was revealed in tragedy and comedy, Boileau is quite tolerant of small genres - to

ballad, rondo, madrigal. Sumarokov in the epistles "On poetry" calls them

"knickknacks", and in the "Instruction" bypasses complete silence.

Etc. Local civilizations are social answers humanity to world challenges... civilization (before XVI- XVII centuries) Technogenic civilization (before ...) Post-industrial (computerization, informatization) Ticket 18. The nature and character of modern ...

The main features of the ode genre and received the best answer

Answer from [expert]
Oda - (from ancient Greek oide - song) - the oldest genre of European poetry. In ancient Greece, odes were originally called choral songs on various topics, accompanied by music and dance. Gradually, first in ancient poetry, and then in the work of European classic poets, the ode became one of the most common and strict genres of “high”, solemn lyrics in terms of content and form. The famous odographers of antiquity were Pindar and Horace, who sang of gods and heroes.
The classicist ode was a solemn, oratorical genre, in which strong emotions were combined with prudence, "piitic" delight - with cold logic. The most important meaningful feature of the ode is a “high” subject (monarch, commander, event of national importance, social virtue, religious morality). The formal features of the genre required the use of iambic tetrameter and a stanza consisting of ten poetic lines divided into three parts: the first part consisted of four lines, the second and third three lines. All ten verses in the odic stanza were united by a strict system of rhyme: abab ccd eed.
An important side of the form of the ode is the composition, which gave the poem harmony, semantic completeness and persuasiveness. As a rule, the ode began with an introduction (one or two stanzas), in which the poet spoke about the subject that served as the source of his poetic enthusiasm. In the first stanzas there could also be an appeal to the muse. This was followed by the central, large in volume and most important in terms of content part of the ode. The poem ended with a final moralizing stanza-conclusion. In it, the poet expressed a generalizing judgment, often directly related to the "hero" of the ode.
The pathos of the ode required a special style. It was achieved using high, bookish vocabulary, primarily archaisms, metonymic paraphrases, and allegories. A huge role was played by intonation-syntactic means: exclamations and rhetorical questions, inversions, unusual syntactic constructions.

Answer from Yovetlana Alferova[newbie]
dy
The ode as a genre of high solemn poetry receives predominant development in the literature of classicism during its heyday. This is due to the fact that the era with which the development of classicism was associated proclaimed the triumph of common interests over personal interests, so the high ode genre was more in line with the tasks of the era than, for example, the genre of a love or drinking song. The experiences of a person, caused by love, separation from loved ones, their death, were relegated to the background. Only those experiences of the poet that reflected events of a national, nationwide scale could arouse general interest.
Ode in classicism was a genre of strict form. Like an oratorical speech, it was built from three obligatory parts: an “attack”, that is, the introduction of a topic, reasoning, where this topic was developed with the help of image examples, and a short but emotionally strong conclusion. Each of the three parts had its own peculiarities of construction, but Lomonosov believed that the arguments in favor of the main idea should have been located "thus, so that the strong were in front, those who were weaker, those in the middle, and the strongest at the end."
The poet's delight did not preclude careful consideration of its main motives and their corresponding compositional parts. He did not rule out thinking about ways to influence the listener in order to evoke response feelings in him. However, all this had to remain outside the subject of the ode. The ode itself, addressed to the listeners, retained (or should have retained) the character of free improvisation, when one thought evoked another.
The forerunners of the ode genre in Russian literature were Rhymologion by Simeon of Polotsk, the cantes and vivati ​​of the Petrine era, and the work of Feofan Prokopovich, who sang the most important events of the era and put in literature the theme of Peter I as an enlightened monarch, builder and hero, which would be picked up by Kantemir, Lomonosov etc. up to Pushkin with his poems "Poltava" and "The Bronze Horseman".
One of the most important features of Lomonosov's solemn ode is the colorfulness and expressiveness of the descriptions. So, the lyrical plot in "Ode on the Capture of Khotin" is based on a wide inclusion of epic elements. It begins with a description of "delight", "Permesian heat" (inspiration), which gripped the poet at the news of the glorious victory of the Russian army over the Turks and Tatars, won in 1739. The central part is the poet's story about the battle itself and his reflections in connection with this. event.

Answer from Evgen[guru]
The social function of the ode becomes direct service to the growing absolutism.

Answer from Sonya Katkova[newbie]
Ode is a genre of lyric poetry; solemn, pathetic, glorifying work. In literature, odes are laudatory, festive, deplorable. By their nature, Lomonosov's odes are works intended to be spoken aloud. Solemn odes were created with the intention of reading aloud in front of the addressee; the poetic text of the solemn ode is designed to be a sounding speech, perceived by ear. A certain topic was declared in the ode - a historical incident or an event of a national scale.
Lomonosov began to write solemn odes from 1739, and his first ode is dedicated to the victory of Russian weapons - the capture of the Turkish fortress of Khotyn. In 1764 Lomonosov wrote his last ode. Over the entire creative period, he created 20 examples of this genre - one per year, and these odes are dedicated to such major events as the birth or marriage of the heir to the throne, the coronation of a new monarch, the birthday or accession to the throne of the empress. The very scale of the odic "occasion" provides the solemn ode with the status of a major cultural event, a kind of cultural culmination in the national spiritual life.
The ode is characterized by a strict logic of presentation. The composition of the solemn ode is also determined by the laws of rhetoric: each odic text invariably opens and ends with appeals to the addressee. The text of the solemn ode is built as a system of rhetorical questions and answers, the alternation of which is due to two parallel operating installations: each individual fragment of the ode is designed to have the maximum aesthetic impact on the listener - and hence the language of the ode is oversaturated with tropes and rhetorical figures. Compositionally, the ode consists of three parts:
Part 1 - poetic delight, praise to the addressee, a description of his services to the Fatherland;
2 part - glorification of the past successes of the country, its rulers; a hymn to modern educational successes in the country;
Part 3 - the glorification of the monarch for his deeds for the good of Russia.
All solemn odes of Lomonosov are written in iambic tetrameters. An example of a solemn ode is "Ode on the day of accession to the All-Russian throne of Her Majesty the Empress Empress Elisaveta Petrovna in 1747." The ode genre allowed Lomonosov to combine lyrics and journalism within the framework of one poetic text, to speak out on issues of civil, public importance. The poet admires the innumerable natural resources of the Russian state:
Where in the luxury of cool shadows
In the flock of galloping deer
Catch the cry did not disperse;
Where the hunter did not mark with a bow;
With the ax farmer's thud
Singing birds did not frighten.
The abundance of natural resources is the key to the successful development of the Russian people. The central themes of the ode are the theme of labor and the theme of science. The poet appeals to the younger generation with an appeal to devote themselves to the service of science:
Be emboldened now
Show with your care
What can own Platos
And quick-witted Newtons
Russian land to give birth.
Lomonosov writes about the benefits of science for all ages. The ode creates an ideal image of a ruler who cares about the people, the spread of education, and the improvement of economic and spiritual development. The high "calm" of the ode is created by the use of Old Slavonicisms, rhetorical exclamations and questions, ancient mythology.
If in the solemn ode Lomonosov very often replaces the author's personal pronoun "I" with its plural form - "we", then this does not indicate the impersonality of the author's image in the ode, but that only one facet of the author's personality is significant for the solemn ode - namely one in which he does not differ from all other people, but draws closer to them. In a solemn ode, it is not the individual-private, but the nationwide-social manifestation of the author's personality that is important, and in this respect Lomonosov's voice in the solemn ode is in full.

There are a large number of genres in Russian poetry, many of which are actively used by modern writers, while others have receded into the past and are rarely used by authors. The second is the ode. In literature, this is already an outdated genre, which was in demand in the era of classicism, but gradually went out of use by the masters of the word. Let's take a closer look at this term.

Definition

In literature? The definition can be formulated as follows: this is a lyrical genre of poetry, a solemn song dedicated to a person with the aim of glorifying him, praising him. Also, in some, not a person is praised, but some important event. The first author of odes in literature is the poet of ancient Hellas, Pindar, who, in his grandiloquent poems, honored the winners of sports.

In Russia, the heyday of the genre fell on the era of classicism, when the great classics - Derzhavin and Lomonosov - created their immortal works. By the 19th century, the genre had lost its relevance, giving way to easier-to-perceive lyrics.

Genre specifics

Ode in literature is a rather specific genre due to its following features:

• Use of iambic 4-foot.
• The presence of high, often outdated, archaic vocabulary, which often made it difficult to understand the text.
• The text has a clear structure, at the beginning and end there must have been an appeal to the addressee. True, some authors have departed from this canon.
• An abundance of rhetorical questions, lush tropes, long, common sentences.
• Often in solemn verses one can find an amazing interweaving of lyrical and journalistic principles, which is especially inherent in
• Most of the works are quite large in volume.
• The replacement of the pronoun “I” with “we” in the text (which is also typical for Lomonosov) indicates that the author does not express his personal opinion, but the position of the whole people.

Such works were intended to be spoken aloud, only loud emotional reading could convey all the feelings that burned in the soul of the author. That is why many odes are taught by heart.

Subject

The most frequently used themes of odes in literature are heroic deeds, the praise of monarchs. So, the first solemn ode of Lomonosov is dedicated to the capture of the Turkish. And Derzhavin in his poetic work addressed Felitsa - that is how he calls Catherine II.

Ode is an interesting genre of Russian literature, in which we can look at the main events of Russian history from a different angle, find out the author's perception of a particular historical figure, and understand her role. That is why such complicated at first glance, but actually quite fascinating works can and should be read.